Sunday, October 31, 2010

"What Main Street Can Learn From the Mall" Questions

1. List the criteria Robert Gibbs uses to evaluate a Main Street.
traffic
no left turns
concentration of stores
cleanliness of streets/sidewalks
attractiveness/price of trash cans similar items
parking
a reason for people to get out of their cars, destination
signs advertising brands
security

2. Think critically of Gibbs’ argument.  Do you think “Main Street” should be a mall?
I agree that Main Street can learn a lot from malls but it should retain its individuality. Shopping downtown is appealing because there are more independent boutiques but also because all of the buildings don't look the same. Matching streetlights, trash cans, and benches are nice but should be mixed with old brick buildings and new construction. Different shaped windows and doors and buildings made of different materials are much more appealing than the off-white and stainless steel that is found in malls. It is important for Main Street stores to retain their individuality. 

3. Make your own checklist to judge a Main Street.  What things do you think are important?
parking
desirable stores for different audiences, more than one store for each audience
easy to walk around, only have to park once
mix of stores and restaurants with varying prices
security
window displays that accurately depict what is in the store
clean streets/sidewalks


Thursday, October 28, 2010

Wikipedia Article: Online

Find the article on Wikipedia here!
(hopefully it is still there)

Wikipedia Article: Original Paper

Earl Young (born March 31, 1889 - May 24, 1975) was an American architect, realtor and insurance agent. Over a span of 52 years, he designed and built 31 structures in Charlevoix, Michigan but was never a registered architect. (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.) He worked mostly in stone, implementing boulders he found all over Northern Michigan. The homes are commonly referred to as gnome homes, mushroom houses, or Hobbit houses (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). His door, window, roof and fireplace designs were very distinct because of his use of curved lines.  Young’s goal was to show that a small stone house could be as impressive as a castle. Young also helped make Charlevoix the busy, summer resort town that it is today (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). 
Early Life
Earl Young was born in Mancelona, Michigan in 1889 to parents Adolf and Myrtie Young. He moved to Charlevoix at 11 years old where his father set up an insurance business. As a teenager, Young was interested in photography and taught himself photofinishing. He took many photos in Charlevoix, of both the city and the woods. In high school, he was on the skating team and the track team. During his senior year, Young was coeditor of his school’s newspaper with Irene Harsha, who would later become his wife. In 1908, he enrolled in the University of Michigan’s School of Architecture. He was influenced by Frank Lloyd Wright’s idea that buildings should respect their surroundings. Young was discouraged by the classic Greek, Roman, and Victorian architecture he was learning about and left school after only one year (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). 
That was the last time Young would have any formal schooling. He joined his family’s insurance business, which soon expanded to include realty. For the rest of his life, he would say he was a realtor and would proudly tell people that he had held his realtor’s license for 60 years. (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.) In the same building as the insurance agency, Young also ran a photofinishing business and sold bread. During this time, he continued to learn about architecture and construction by reading books and magazines and talking to construction workers and stonemasons. On February 14, 1914 Myrtie Young died and Earl was left alone in the family business(The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). 
On September 21, 1915 Young married Irene, his high school sweetheart. He joked that he married her to, “keep her on his staff.” (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.) Over the next 11 years their family grew to include four children: Drew, Marguerite, Louise, and Virginia. 
Young developed some bad habits very early and they continued with him throughout his career. He was a difficult architect to deal with. He never made blueprints; workers were lucky to get a rough sketch that was refined by Irene. Young also never thought about practicality, making very short doorways and kitchens like hallways. He was an on-the-spot designer and said the stones spoke to him. When asked which building was his favorite, Young would always respond, “The next one.” (Fox, Thomas. “Stone Lover Builds Solid, Artful Heritage”. Detroit Free Press, 1973.)
First Homes
Earl Young had been studying the houses in Charlevoix County for years. He believed that these houses could be mixed up and put back on any plot of land with no consequences. He wanted to build homes that fit into their landscape. This philosophy was shared by Frank Lloyd Wright. From 1918 to 1921 he worked on his first building at 304 Park Avenue (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). It was built mostly of stone with a few wooden details and an Arts and Crafts influence. This home respected the contours of the land and contained the first of his celebrated stone fireplaces. He built it for his family to live in. 
In 1920, he built a new insurance office for himself. It was called the Apple Tree Building after the tree that grew behind it. The building had to be removed in 2003, but the fireplace was saved (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). 
Young bought a large piece of land on Lake Michigan from Mary Bartholomew in 1924. He broke the land up into 85 lots, only three of which were rectangular, and began advertising Boulder Park. Lots started at $100 and the first floor of any house that was built had to be made of stone, brick, or stucco. Young designed and built 10 homes in Boulder Park, although it is a common misconception that he built all of the homes there since many homeowners had their houses commissioned “in the style of” Earl Young. (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.) 
From 1927 to 1930, he worked on a house with green mortar between the stones. It was heavily influenced by Frank Lloyd Wright and was the first of Young’s homes to have a deemphasized, almost hidden entryway. At the same time, he worked on a house made of rough stone with his first remarkable chimney- the chimney seemed to be made of randomly placed stones and the top of it appeared to be frosted with snow. Both homes have a door and stairs that face the road but no walkway that leads to them (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). 
The next home Young built resembled an English cottage. It was built from 1928 to 1929 with flat white stones and white mortar. Its rolled eaves are the first clue to the undulating roofs Young would later construct (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). 
From 1929 to 1930, Young built two homes. The first was mostly comprised of stones with red mortar between them. The stucco gables playfully have eight stones “tossed” into them. This is the only home he built without a sheltered entrance. The second of the two homes has a distinct Swiss Chalet influence (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). 
In 1930, Herman Panama commissioned a home made of cobblestone from Young. The house is called The Norman Panama House after Herman Panama’s son, a Hollywood producer, writer, and director. (Barton, Mike. Mushroom Houses of Charlevoix. pg. 23.)
Young designed a home called The Owl House, which was constructed from 1930 to 1931. The house was made entirely of granite. It received its name from the two round windows on its front that resemble eyes (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.).
The Enchanted Cottage was built next. It is the only structure that Young built but did not design. This is evident because the house has many straight lines and right angles, unlike Young’s other homes. Mr. and Mrs. Cross convinced Young to build the house based on House Pattern 357 from Ladies Home Journal. He gave it his own touch with a stone exterior and a slight change to the dormer windows (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). 
Soon after, he bought The Golden Rule, a sailboat, from a friend. Young convinced the Coast Guard to haul it out in front Boulder Park and beach it. Its only purpose was to act as a conversation piece, although, Lake Michigan’s rough summer waves and harsh icy winters soon demolished the boat (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.).
Young’s next home was The Pagoda House, finished in 1935. Constructed of limestone, it had Oriental, Gothic and Swiss influences (Barton, Mike. Mushroom Houses of Charlevoix. pg. 19.).  This was the last home he built in Boulder Park.
Boulder Manor
Building Boulder Manor was considered the turning point in Earl Young’s architecture. It is the most well known home in Boulder Park (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). For years Young had been saving boulders both physically and mentally. He had the ability to remember the dimension and colors of hundred of boulders at the same time, over the span of many years. He dug up the boulders he liked, sometimes having to purchasing them. He hid them underground, deep in the woods, or in Lake Michigan. Many of these boulders came together when he started building Boulder Manor for his family in the fall of 1928. He built a playhouse in the backyard, that is basically a miniature replica of the main house. His daughters and their friends played inside while he oversaw work on the big house. The playhouse has a working fireplace and electricity. Unfortunatly, in 1929 the Depression hit and Young had to sell the unfinished house to the bank (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.).
For many years he worked on other homes and on December 9, 1937 he finally regained possession of Boulder Manor. The house was finished in 1939. The fireplace is composed of six massive boulders that form a trapezoid shaped mantel. The front of the house is dominated by an arched window that gives a spectacular view of Lake Michigan. One stone on the South side of the house juts up into the vinyl siding, fusing the two materials together to create one cohesive building.
Later Homes
Young purchased a triangular piece of land between Park Avenue, Grant Street, and Clinton Street. Many of his next houses were built either here or nearby. Abide was the first of these homes. It had even fewer straight lines than its predecessors, which was especially apparent in the roof. Young liked to say that he “built roofs and then shoved the houses underneath.” (Sculley, Bob. “Creative Home Builder Ignores Old Age, Almost...”. Ludington Daily News, 1971.) Because he refused to cut down trees on the property, they looked like they grew around the house. Abide has Young’s first fireplace made of Onaway stone.
Around this time, Young convinced the community to demolish buildings that blocked the view of Round Lake from Bridge Street. The four block area was turned into a park that is still enjoyed today (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). 
In 1943, Tide Beside Abide-- or Betide-- was constructed. It sits far back from Park Avenue and drops down the back of the hill. This makes the home look three times smaller from the front than it actually is (Barton, Mike. Mushroom Houses of Charlevoix. pg. 33.). 
In 1945 Young constructed a cottage across from Abide. It had a thatched roof imported from Europe, whitewashed stones, and dark wood. The roof was later changed to shingles to make maintenance easier, and the whitewash was removed from the stones (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). 
When Young’s children moved out, he built a new home for himself and Irene at 306 Park Avenue. The house is made of Onaway stone and the roof mimics the swells of the hills surrounding it. The fireplace is composed of more Onaway stone and the horizontal and vertical pieces come together to make two diagonal lines. Diagonal lines on fireplaces proved to become more pronounced on his later buildings. Young lived here for almost 30 years (Barton, Mike. Mushroom Houses of Charlevoix. pg. 33.).
Young’s smallest building, Half House, was finished in 1947. It has a steep, wavy roof and stops flat on the East side with a high chimney (Barton, Mike. Mushroom Houses of Charlevoix. pg. 33.). 
The next home was created for Speedway 79 founder William Sucher in 1948. Young walked the land with Sucher and his wife and at one spot stopped and told them: “From this spot I want you to see one third sky, one third water, and one third grass.” (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.) This type of behavior was not unusual for Young. 
In 1951, Young built the now most photographed home in Charlevoix, which the owner calls Boulderdash (Barton, Mike. Mushroom Houses of Charlevoix. pg. 33.). It was modeled after a button mushroom. It is said that the exact square footage cannot be found because the floor plan is so irregular. The boulder walls are three feet thick and the undulating roof had to be complete twice because the first time the shingles were put on in neat rows, not the chaotic, sweeping billows Young wanted. The leaded glass windows were originally in a Polish castle (Barton, Mike. Mushroom Houses of Charlevoix. pg. 31.).
Between 1952 and 1962 Young remodeled three homes, usually adding stone to the fireplace and to the exterior of the homes. He also constructed two homes, one was for the mayor of Charlevoix (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). 
The Weathervane
Young tore down an old mill to create The Weathervane Inn which opened in July of 1954. The impressive restaurant houses five fireplaces. The one in the dining room includes a nine ton boulder that was one of Young’s favorites. He buried the stone for 26 years before he found the perfect place for it. It is similar to the shape of Michigan’s lower peninsula and Young thought that the lines bisecting it looked the the highways crisscrossing the land. The first time the boulder was put in place, the floor sank because it was so heavy. The roof of The Weathervane Inn mimics the outstretched wings of a seagull in flight. The gull motif is also found in fireplaces in The Weathervane compound and a few houses (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). 
The Weathervane Lodge opened in August of 1959. The square, two story building houses 37 units and is still in use today, but is simple known as The Lodge. At the time, it was the only two story motel with a passenger elevator (“Ultra-Modern, 2-Story Motel at Charlevoix Will Be-One of Michigan’s Finest”. Grand Rapids Press, 1959.).  For the Weathervane Terrace Motel, Young seems to have drawn influence from nearby Castle Farms, but he never admitted it. Young experienced financial difficulties during construction, but the motel was finally finished in 1965. The main fireplace features red, gold and black stone. The fireplace in the breakfast room  is made of five huge stones that fit together like a perfect puzzle. Young sold out of the Weathervane buildings in 1968 but retained his office for the rest of his life (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). 
Other Projects
In 1967, Young started working on land that faced Round Lake. He called the area Thistle Down. The first home here was an A-frame with very little stone on the exterior. The stairway was constructed with discs cut from a single log. The flamboyant fireplace uses the same stylized gulls as The Weathervane. A red sandstone house was built in 1969, and bulldozed in 1994. From 1970 to 1973 Young worked on The Castle House, his last completed design (Barton, Mike. Mushroom Houses of Charlevoix. pg. 43.). Today, it has been incorporated into a much larger home but still retains its Earl Young flair. 
One house was constructed outside of Charlevoix. After much pestering Young built the Suchers another house in Alma, Michigan. It is made of Onaway stone and the fireplace is a full wall of diagonal lines. 
In the 1930’s Young dragged a 40 ton boulder out in front of Boulder Park. 40 years later, he upended it where it sits today, proudly proclaiming the beginning of Boulder Park (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.).
Later Life
Young went to his office everyday. He continued to find new boulders, sketch ideas and dream. At 86 years old he slipped on a patch of ice and broke a hip. He was hospitalized and passed away on May 24, 1975 (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). 
Style
Young constructed homes during the Mid-Century Modern Era of architecture. This era is known for integrating nature into the houses, as Young always did. He would work around trees instead of cutting them down and wanted the houses to be part of the landscape instead of concurring it. Architecture from this time features open, flowing floor plans and the beginning of post and beam structures with light, glass walls. Many of Young’s homes have open floor plans but the stone walls never feel delicate. Like other buildings from the period, the stone houses are less formal than their predecessors. This informality is mainly shown by the lack of straight lines. The  largest difference between Young’s homes and those of his contemporaries is who the houses are designed for. Other homes were built for the contemporary American family and their needs, but Young built only for himself. His awkward, hallway-like kitchens have been remodeled in many homes to make them more user friendly (The Life and Works of Earl Young Charlevoix’s Master Builder in Stone. DVD. Written by David L. Miles.). Young is often compared to Frank Lloyd Wright because of his integration with nature and his stubborn attitude, but critics have never formally compared the two architects. 

Sunday, October 24, 2010

Retail Analysis.

I observed  Build-A-Bear Workshop. Build-A-Bear's target audience is children, from babies to middle schoolers. Usually the child is not paying  for the bear so the store must appeal to parents, grandparents and other family members.

The outside of the store is mostly composed of windows. This allows children and parents to see the various stuffed animals that can be bought. From the doorway it is easy to see all the way to the back of the store. A large sign says "Build-A-Bear Workshop" in a kid friendly font with a smiling bear, buttons, and thread. Some merchandise spills out of the door.
Pop music seemed to be playing softly but at least one song mentioned building a bear. The music was quiet enough to not hinder having a conversation but loud enough that you don't feel like everyone can hear what you are saying.
All of the merchandise is displayed close to the ground. The bins containing the unstuffed animals were below my waist height and only a handful of things were above my head. Prices were one of the only things above a child's eye level. Merchandise is put where kids can easily see it and take it off the shelves. All of the clothing for the bears is displayed on cardboard hangers and on racks that look like a real clothing store. There is a lot of space in between the shelves, it would be easy for a parent with a stroller to get around.
The floor was light wood and seemed to be in good shape. It contrasts nicely with the merchandise and anything dropped on the floor would be easy to find.
The signs are very easy to read. They use all capital letters, a minimal number of words, and the font is large. Children learning to read would not have a difficult time figuring out what the signs say.
The cashier area, like everything else is low to the ground. The counter is substantially lower than a kitchen counter, but not so low that an adult would feel totally out of place. This allows most children to see the cashier and read "The Bear Promise" that is written behind the counter. This also occupies kids while their parents are paying.

Build-A-Bear is all about fun and is set up to be like a workshop. Primary colors and black are used to attract attention. Certain elements are made to look like a factory. The bins look like spools of thread and there is a stuffing machine. Build-A-Bear is also focuses on being interactive. The store is a loop and each section focuses on a different action: choose me, stuff me, fluff me, dress me, name me, and take me home. After picking out an animal, it must be stuffed. This forces the consumer farther back into the store where the clothes are. The signs imply that each step must be completed and that the consumer can't leave without buying clothes for the animal. Paco Underhill would call the clothes "add-ons".
Build-A-Bear has the visceral wow-factor for children. The bright colors and seemingly endless clothing options make their eyes go wide. From a behavioral point of view, the store is easy to get around in and the loop design  seems natural. There is also a bathroom and drinking fountain in the store, which is unusual for a mall. Reflective design is very important, children get to feel like they are making something all their own. Each child puts a fabric heart in the center of the bear and the staff makes it into a big deal. Kids I saw had to jump on one foot, spin in a circle, make a wish, and kiss the heart before they could place in in the bear. Each bear even gets a birth certificate, customized with the "parent's" name.

The store is set up just like the one in Detroit and the one in Chicago. This allows people to visit any Build-A-Bear store and know exactly what to expect when they walk in the door.

I would like to note that no one offered to help me when I walked in. I am clearly not their target audience.

Friday, October 22, 2010

Egg Drop Design. The Funk.

It was important to us to make a pretty container and have some fun with it. We looked through the recycling behind Hoben to find a small box and used printed duct tape to seal it and add some interest. We then put small balloons around the outside, I think we used about 20. Larger balloons would have been better but we didn't have any. We filled the box with bubble wrap and did a test drop without the egg. In Hicks we dropped it down two stories and it seemed to work well. Before the drop during class we didn't make sure that the egg was in the center of the box surrounded by the bubble wrap. The egg was right near the top and its weight made the top hit the ground first resulting in the egg breaking. The egg being in the center of the box would have made a huge difference. I would also like to try it with bigger balloons or a larger number of small balloons.

You can find Shelbi's blog here.

Wednesday, October 13, 2010

"The Science of Shopping" Questions

1. What points from this article do you feel are the post important?
The consumer is constantly evolving. The change in the way makeup is sold is a great example. We are more independent, instead of relying on someone to dress us, we want to come up with our own look. This really plays into how much contact we have with sales people too. When I walk into a store, I expect someone to say hello, offer me help if I need it and then leave me alone. I don't want a person following me around, constantly suggesting things. I also liked the anecdote about the father grocery shopping with his kids. The idea of avoiding the cookie aisle is so obvious that it is clever.

2. How much do you personally feel you are influenced by a store's design?
I am definitely influenced by a store's design. I dislike stores with expansive white walls and harsh lighting. As far as the floor plan goes, I like to be able to see the door (or at least know exactly where I am in relation to it) at all times. Being lost in a maze of smaller rooms that don't always connect, like in Forever 21 or Saks Fifth Avenue, makes me feel uncomfortable. My favorite store is Anthropologie. I always go in even if it is just to see how the windows are decorated. I have seen arches made of books, flowers made of 2 liter pop bottles and snowflakes made of newspaper. Once I have seen the decorations I make my way to the back of the store where the keep the sale items. And that's where the get me, on the way I see a dress that would be cute for my cousin's bar mitzvah or any other number of things I want.
The focus isn't even the clothing



3. Make a check list you could use to analyze a retail store like Paco Underhill does.
Is there enough merchandise that the consumer has options but is not overwhelmed? Are the employees nice but willing to leave you alone? Are stores across the country set up in a similar way? How long are checkout lines? Does the store pull the customer in? Does the consumer want to spend time in the store?

Sunday, October 10, 2010

"Isn't it Iconic?" and "The Power of The Box - Powerful Packaging Design" Questions

1. To what extent is packaging important in marketing a product? Give an example of how a package influenced your decision to buy (or not buy) something.
Packaging is very important when marketing a product. On busy store shelves a consumer needs to be able to recognize what they want or be draw to a particular brand if they are not sure what they want. Packaging is especially important when it comes to beverages. This is one of the few products where the packaging is not immediately thrown away. I don't drink wine but I like shopping for it with my parents because the labels are so interesting. For me it is not at all about taste, but about how the bottle will look on the wine rack or sitting on the table. Labels have to be viscerally appealing but also show others what you find beautiful or interesting, so they are reflective. I prefer labels that use black, white and a bold color. Oddly shaped labels also help set some bottles apart from others.
Black, White and Red Color Scheme.
Easy to Read Font.

Thin Label, Very Low on the Bottle is Eye-catching.

Clever.
Black, White and Red.

Black with Two Colors.

Black and White.
No Words on the Main Label.

Black and White.
Arizona Iced Tea comes in a distinct tall can. Jones soda is also very unique. The pop is brightly colored and the labels are usually black and white photographs submitted by consumers.

I also bought premium m&ms because the package was so pretty. The box has subtle curves and was metallic shades of brown.


The cover of a book is another type of important packaging. I was at Borders one day and saw a hardcover book where the cover was split down the middle so that two flaps opened up. I immediately picked it up and smiled when I saw that it worked with the title "The Divide". I bought the book and had many people comment on it while I was reading it. This was in middle school, it is still my favorite book cover. Without this cover, I may have never picked up the book.

2. What other products have iconic packaging? 
Apple has very iconic packaging. Every piece features a white background with black type and a color image of the product. Their packaging is also very representative of the size of the product. Ipods come in small boxes, maybe twice the size of the ipod. At one point they had some black packaging with white type but I believe they have returned to all white.

McDonalds Happy Meal also has iconic packaging. Commercials always feature a red box with the golden arches as the handle. Every time I got a Happy Meal as a kid it came in the normal paper bag but I still associate it with the red box.

It isn't yet well know, but BluRay DVDs have a very distinct design. They are similar to a normal DVD case but shorter, thinner and the plastic is blue. If BluRay makes a breakthrough it will become iconic.

3. What usability issues exist for packaging? Give examples of particularly good or bad packaging from a usability perspective.
Packaging should easily let the consumer know what is inside. It should be easy to remove. It needs to keep the product safe, but there should not be too much of it. The packaging on CDs is horrible. It takes forever to unwrap and CD. I understand that they want to make it difficult for people to steal them, but there has to be a better way to do it. Apple does a good job not putting too much padding in their boxes. When buying a bottled drink, the top should be secure so that the consumer knows it has not been tampered with, but it should not be so tight that the consumer cannot get it off.

None of the images used here belong to me. 

Friday, October 8, 2010

"Know it All" Questions

1. What do you think are the author's main points in this article?
The author wants people to be aware that Wikipedia is not always the most truthful source, but many of her other points are more important. The process of removing vandalism and editing seems more important than the actual vandalism or incorrect information. She portrays Wikipedia as a social place as well as an encyclopedia. It is emphasized that entries are made by normal people. This can decrease the reliability but also makes articles easier for the average person to understand.


2. An important part of credible writing is selecting good supporting evidence. Select a passage from this article that illustrates the effective use of supporting detail. Explain why you think it is particularly effective. 
Is Wikipedia accurate? Last year, Nature published a survey comparing forty-two entries on scientific topics on Wikipedia with their counterparts in Encyclopædia Britannica. According to the survey, Wikipedia had four errors for every three of Britannica’s, a result that, oddly, was hailed as a triumph for the upstart.
For years my teachers have been telling me never to use Wikipedia as a source for a paper. They alway say that it is full of errors because anyone can edit it. I like that this passage uses statistics to clarify the issue. I agree that Wikipedia is not the best source to go to for research but teachers need to say that other resources have errors too. They like to think that anything published is perfect and everything on the internet is rubbish. Statistics certainly help clarify issues like these but it is important to be wary of the reason the statistic was made. Did Nature want to establish Wikipedia as a credible source? Did they want to further discredit it? 



3. Throughout the article, the author compares Wikipedia to the Encyclopedia Britannica, but not specifically on design. How would you compare the two encyclopedias from a design perspective?
Wikipedia is more user friendly than Encyclopedia Britannica. You can search Wikipedia and it will redirect you if you searched for something under the wrong title. Wikipedia also has links in each entry so you can easily look up a related topic without having to flip through pages or have many volumes open. Wikipedia is nice because it doesn't take up space or weigh anything. I can easily pull out my phone and look something up, the only limitation is having cell phone service. I guess the print version of Encyclopedia Britannica is good because you don't need electricity to use it. Wikipedia is also good because it is free. According to their website, Encyclopedia Britannica online costs $70 per year and the print version costs more than $1300.
I just went to Britannica.com to see how the pages are set up. They are very similar to Wikipedia but only part of the page scrolls up and down. This restricts the amount of information the reader can look at at one time. The scrolling is also very jumpy and sometimes not responsive. Wikipedia has a link to each part of the article after the first paragraph, Britannica has a table of contents but it is a drop down menu that is more difficult to see. Overall, Wikipedia is more user friendly.